AustLit

'"Me and Ben had been mates since we was boys and if it come to it I knew I would have to be on his side."

Bobby Blue is caught between loyalty to his only friend, Ben Tobin, and his boss, Daniel Collins, the new Constable at Mount Hay. 'Ben was not a big man but he was strong and quick as a snake. He had his own breed of pony that was just like him, stocky and reliable on their feet.' Bobby understands the people and the ways of Mount Hay; Collins studies the country as an archaeologist might, bringing his coastal values to the hinterland. Bobby says, 'I do not think Daniel would have understood Ben in a million years.' Increasingly bewildered and goaded to action by his wife, Constable Collins takes up his shotgun and his Webley pistol to deal with Ben. Bobby's love for Collins' wilful young daughter Irie is exposed, leading to tragic consequences for them all.

Miller's exquisite depictions of the country of the Queensland highlands form the background of this simply told but deeply significant novel of friendship, love, loyalty and the tragic consequences of misunderstanding and mistrust. Coal Creek is a wonderfully satisfying novel with a gratifying resolution. It carries all the wisdom and emotional depth we have come to expect from Miller's richly evocative novels.' (Publisher's blurb)

'Autumn Laing has long outlived the legendary circle of artists she cultivated in the 1930s. Now "old and skeleton gaunt", she reflects on her tumultuous relationship with the abundantly talented Pat Donlon and the effect it had on her husband, on Pat's wife and the body of work which launched Pat's career. A brilliantly alive and insistently energetic story of love, loyalty and creativity.

Autumn Laing seduces Pat Donlon with her pearly thighs and her lust for life and art. In doing so she not only compromises the trusting love she has with her husband, Arthur, she also steals the future from Pat's young and beautiful wife, Edith, and their unborn child. Fifty-three years later, cantankerous, engaging, unrestrainable 85-year-old Autumn is shocked to find within herself a powerful need for redemption. As she begins to tell her story, she writes, "They are all dead and I am old and skeleton-gaunt. This is where it began..."

'Written with compassion and intelligence, this energetic, funny and wise novel peels back the layers of storytelling and asks what truth has to do with it. Autumn Laing is an unflinchingly intimate portrait of a woman and her time - she is unforgettable.

Source: www.allenandunwin.com/ (Sighted 21/07/2011).

'Strangers did not, as a rule, find their way to Chez Dom, a small, rundown Tunisian cafe on Paris' distant fringes. Run by the widow Houria and her young niece, Sabiha, the cafe offers a home away from home for the North African immigrant workers working at the great abattoirs of Vaugiraud, who, like them, had grown used to the smell of blood in the air. But when one day a lost Australian tourist, John Patterner, seeks shelter in the cafe from a sudden Parisian rainstorm, the quiet simplicities of their lives are changed forever.

John is like no-one Sabiha has met before - his calm grey eyes promise her a future she was not yet even aware she wanted. Theirs becomes a contented but unlikely marriage - a marriage of two cultures lived in a third - and yet because they are essentially foreigners to each other, their love story sets in train an irrevocable course of tragic events.

Years later, living a small, quiet life in suburban Melbourne, what happened at Vaugiraud seems like a distant, troubling dream to Sabiha and John, who confides the story behind their seemingly ordinary lives to Ken, an ageing, melancholy writer. It is a story about home and family, human frailties and passions, raising questions of morals and purpose - questions have no simple answer.

Lovesong is a simple enough story in many ways - the story of a marriage, of people coming undone by desire, of ordinary lives and death, love and struggle - but when told with Miller's distinctive voice, which is all intelligence, clarity and compassion, it has a real gravitas, it resonates and is deeply moving. Into the wonderfully evoked contemporary settings of Paris and Melbourne, memories of Tunisian family life, culture and its music are tenderly woven.' (From the publisher's website.)

'One suburban morning in Summer 1970, Peter van Rijn, proprietor of the television and wireless shop, realises that his suburb is 100 years old. He contacts the Mayor, who assembles a Committee, and celebrations are eagerly planned. That same morning, just a few streets way, Rita is awakened by a dream of her husband's snores. It is years since Vic moved north, and left their house of empty silences, yet his life remains bound up with hers. Their son, too, has moved on - Michael is at university, exploring new ideas and the heady world of grown-up love. Yet Rita still stubbornly stays in the old street, unable to imagine leaving the house she has tended so lovingly for so long. Instead she has taken on the care of another house as well - that of the widowed Mrs Webster, owner of the suburb's landmark factory, now in decline. As these lives entwine, and the Committee commissions its centenary mural and prepares to commemorate Progress, History - in the shape of the new, post-war generation represented by Michael and his friends - is heading straight for them...'

(Source: Publisher's blurb)

'To know is enough. To know we killed her together. I willed it, he took the blame, but we did it together. One day he'll look me full in the face and he'll sat it. He'll say: You know why it happened. Yes, I'll say, I know. The air will be noise enough, we won't need more words, but he'll say a few because I am a child. We did it because I know the secret. I am the secret.

'If Leaning Towards Infinity explored the relationship between mothers and daughters and the pursuit of mathematics, Painted Woman gives us the tight and tangled knot binding a father and daughter, and the pursuit of art. Death and art, violence and love, possession and yearning; this is the story of the emergence of a woman artist, because of and despite all.'

Source: Publisher's blurb.

'The history of his summer is written in the grass ... In 1960 the West Indies arrive in Australia, bringing with them a carnival of music, colour and possibility. Michael, who is sixteen, is enthralled. If, like his heroes, he has the gift of speed, he will move beyond his suburb into the great world ... And yet, as his summer unfolds, Michael realises that there are other ways to live. When the calypso chorus accompanying Frank Worrell and his team fades, Michael has learnt many things ... about his parents, his suburb, a girl called Kathleen Marsden, and about himself.'

Source: Publisher's blurb.

'On a hot summer's night in the 1950s, the old and the new, diesel and steam, town and country all collide - and nobody will be left unaffected.

'As a passenger train leaves Spencer Street Station on its haul to Sydney, a family of three - Vic, Rita and their son Michael - are off to a party. George Bedser has invited the whole neighbourhood to celebrate the engagement of his daughter. Vic is an engine driver, with dreams of being like his hero Paddy Ryan and becoming the master of the smooth ride. As the neighbours walk to the party, we are drawn into the lives of a bully, a drunk, a restless girl and a young boy forced to grow up before he is ready. The Art of the Engine Driver is a luminous and evocative tale of ordinary suburban lives, told with an extraordinary power.'

Source: Publisher's blurb.

'The drumming of the guns continued, with bursts of great intensity. It was as though a gale streamed overhead, piling up great waves of sound, and hurrying them onwards to crash in surf on the enemy entrenchments. The windless air about them, by its very stillness, made that unearthly music more terrible to hear.

'First published anonymously in 1929 because its language was considered far too frank for public circulation, The Middle Parts of Fortune was hailed by T. S. Eliot and Ezra Pound, by Lawrence of Arabia and Ernest Hemingway, as an extraordinary novel. Its author was in fact Frederic Manning, an Australian writer who fought in the Battle of the Somme in 1916, and who told his story of men at war from the perspective of an ordinary soldier.' (Publication summary : Text Classics)